Welcome, Joffrey!
Our collaboration with The Joffrey Ballet continues. With these
summer performances at Blossom, coupled with five sold-out performances of The Nutcracker last winter at PlayhouseSquare in Cleveland,
we have again confirmed just how special a spark can come from pairing a world-class dance company with the brilliant musicianship of The
Cleveland Orchestra. Your attendance here tonight is testament to
the interest and enthusiasm of Northeast Ohio for great dance performances.

This weekend features a special anniversary presentation of The
Rite of Spring, in Joffrey’s reconstruction of the original production
from 100 years ago this year. In this single work, in its surprisingly
different movements and sounds, can be found the essence of modern dance and modern music. We are indeed fortunate to witness
this acclaimed recreation here in Northeast Ohio.
We extend thanks to our friends at DANCECleveland and the
Heinz Poll Summer Dance Festival, who have helped in promoting this
weekend’s performances and connecting with people throughout the
region. The Cleveland Orchestra is proud to stand with the region’s
dance community in bringing audiences the best in dance.

Please also join with me in extending special thanks to The Andrew W. Mellon Foundation, whose important and generous grant
to the Orchestra announced this past spring — and its matching gift
provision — is focused to increase funding so that ballet and opera
can be an ongoing and integral part of each Cleveland Orchestra
season.

Son of Chamber Symphony
choreography by Stanton Welch
to music by John Adams

Adagio

choreography by Yuri Possokhov
to music by Aram Khachaturian

INTERMISSION

The Rite of Spring

choreography after Vaslav Nijinsky, reconstructed by Millicent Hodson
to music by Igor Stravinsky

The Saturday performance is dedicated to Barbara S. Robinson
and to Giuliana C. and John D. Koch
in recognition of their extraordinary generosity in support
of The Cleveland Orchestra’s 2012-13 Annual Fund.
The Sunday performance is dedicated to Jeanette Grasselli Brown and Glenn R. Brown
in recognition of their extraordinary generosity in support
of The Cleveland Orchestra’s 2012-13 Annual Fund.
Media Partners: WCLV Classical 104.9 FM ideastream®

90.3 WCPN ideastream®

Blossom Music Festival

Program: August 17-18

5

Ashley Wheater
Artistic Director
The Joffrey Ballet

Ashley Wheater has dedicated his life to dance. He was born
in Scotland and trained at the Royal Ballet School in England. While at the school, he worked with Frederick Ashton in
Benjamin Britten’s Death in Venice, and performed at Covent
Garden in numerous productions, including Swan Lake, Sleeping Beauty, Giselle, and The Dream. Having graduated to the
upper school of the Royal Ballet, Mr. Wheater danced in many
full-length productions and performed with Rudolph Nureyev
in Nureyev and Friends at the London Coliseum.
After leaving the Royal Ballet, Mr. Wheater joined the
London Festival Ballet, where he continued to work with
Nureyev in his Romeo and Juliet and Sleeping Beauty and with Glen Tetley in
Sphinx and Greening, along with a large repertoire of classics and new creations.
Under the artistic direction of John Field, he was promoted to principal dancer at
the age of 20. In 1980, Ashley Wheater joined the Australian Ballet, where he continued dancing principal roles in both classical and contemporary work, especially
in full-length ballets by John Cranko.
Mr. Wheater joined The Joffrey Ballet in 1984 at the invitation of Gerald Arpino. For the next four years, he performed various works by American choreographers, including William Forsythe, Gerald Arpino, Mark Morris, Paul Taylor, and
Laura Dean, as well as repertoire by Ashton and Cranko.
Joining the San Francisco Ballet in 1989, Ashley Wheater continued his creative career, working with Helgi Tomasson, James Kudelka, David Bintley, and
other choreographers. He became ballet master at the San Francisco Ballet in 1997
and, in 2002, assistant to the artistic director.
Since his appointment in 2007 as artistic director of The Joffrey Ballet, Mr.
Wheater has built upon the vibrant legacy of founders Robert Joffrey and Gerald Arpino. True to Joffrey’s vision for the company, he honors ballet masterpieces and seeks
to preserve them, is constantly in search of new creative voices, and presents work relevant to the community and today. Under his direction, a range of world-class choreographers have created new works for the company. Full-length ballets that have been
added to the Joffrey’s repertoire include Lar Lubovitch’s Othello, Ronald Hynd’s The
Merry Widow, the world premiere of Yuri Possokhov’s Don Quixote, Krzysztof Pastor’s
Romeo and Juliet, and Stanton Welch’s La Bayadère: The Temple Dancer.
In 2008, Mr. Wheater was the recipient of the Boeing Game-Changer Award
in recognition of his commitment to community engagement in Chicago and to
the celebration of diversity through dance. In 2010, Mr. Wheater, representing The
Joffrey Ballet, was named Lincoln Academy Laureate, the highest honor presented
by the State of Illinois.

6

The Joffrey Ballet

Blossom Music Festival

T H E J O F F R E Y B A L L E T has been hailed as “America’s Ballet Company of
Firsts.” The Joffrey Ballet’s long list of “firsts” includes first dance company
to perform at the White House (at Jacqueline Kennedy’s invitation), first to
appear on television, first American company to visit Russia, first classical
dance company to go multi-media, first to commission a rock ’n’ roll ballet,
first and only dance company to be featured on the cover of Time magazine,
and the first company to have had a major motion picture based on it, Robert Altman’s The Company.
For more than a half-century, The Joffrey Ballet’s commitment to taking world-class, artistically vibrant work to a broad and varied audience has
created a solid foundation that continues to support the company’s unprecedented capacity for achieving important “firsts.” Today, the Joffrey, which
has been hugely successful in its former residencies in New York and Los
Angeles, lives permanently in a brilliant new facility, Joffrey Tower, in the
heart of America in Chicago, Illinois. The company’s commitment to accessibility is met through the most extensive touring schedule of any dance
company in history, an innovative and highly effective education program
(including the much-lauded Academy of Dance, Official School of The Joffrey Ballet), and collaborations with myriad other visual and performing
arts organizations.
Classically trained to the highest standards, The Joffrey Ballet expresses
a unique, inclusive perspective on dance, proudly reflecting the diversity of
America with its company, audiences, and repertoire, which includes major
story ballets, reconstructions of masterpieces, and contemporary works.
Founded by visionary teacher Robert Joffrey in 1956 and guided by
celebrated choreographer Gerald Arpino from 1988 until 2007, The Joffrey
Ballet continues to thrive under internationally renowned artistic director
Ashley Wheater and executive director Greg Cameron. The Joffrey Ballet
has become one of the most revered and recognizable arts organizations in
America and one of the top dance companies in the world.
To learn more about The Joffrey Ballet and to read biographies of
individual dancers, please visit joffrey.org.

Blossom Music Festival

The Joffrey Ballet

7

Tito Muñoz
Tito Muñoz was recently appointed music director of Le Poisson Rouge’s Ensemble LPR, the flagship ensemble of New York’s celebrated multimedia performance
venue, dedicated to the fusion of popular and art cultures in music, film, theater,
dance, and fine art. He is also music director of the Opéra National de Lorraine and the Orchestre Symphonique et Lyrique
de Nancy. In addition, his guest conducting engagements in
Europe and across North America feature concert, opera, and
ballet performances.
An alumnus of the National Conducting Institute,
Mr. Muñoz made his professional conducting debut in 2006
with the National Symphony Orchestra. That same year,
he made his Cleveland Orchestra debut at Blossom, and subsequently served a three-year term as assistant conductor (200710). He continues to maintain a close relationship with The
Cleveland Orchestra, where he has returned to conduct annually, including a critically acclaimed subscription week, stepping
in on short notice for Pierre Boulez in 2011. Mr. Muñoz’s first
performances with The Joffrey Ballet and The Cleveland Orchestra in 2009 led to a
series of further performances, as well as an invitation to tour with Joffrey during
the 2010-11 season. He most recently returned to Cleveland to lead performances
with the Orchestra of Joffrey Ballet’s The Nutcracker at PlayhouseSquare in November 2012 and the Martin Luther King Jr. Celebration Concert in January 2013.
Mr. Muñoz’s performances across North America have included concerts with
the orchestras of Atlanta, Columbus, Detroit, Hartford, Houston, Indianapolis,
Phoenix, and San Antonio, among others. Following recent engagements in Europe
with the Lausanne Chamber Orchestra and Opéra de Rennes, he has upcoming debuts there with the Danish Radio Sinfonietta, Deutsche Radio Philharmonie Saarbrücken, Luxembourg Philharmonic, and the Orchestre National de Lorraine.
During the summers 2004-06, Mr. Muñoz attended the American Academy of
Conducting at Aspen, where he studied with David Zinman and Murry Sidlin and
participated in masterclasses with Asher Fisch, Leon Fleisher, George Manahan,
David Robertson, and Leonard Slatkin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize,
and in 2007 returned to Aspen as the festival’s assistant conductor.
Born in New York City, Tito Muñoz began his musical training on the violin
at age thirteen in the Juilliard School’s Music Advancement Program. He continued his studies at the Manhattan School of Music, Fiorello H. LaGuardia High
School of Music & Art and Performing Arts, and Queens College City University of
New York. An accomplished violinist, Mr. Muñoz performed in a variety of New
York’s leading ensembles, including the New York Virtuosi, Ensemble Sospeso, and
Orchestra of St. Luke’s.

Interplay
choreography by Jerome Robbins
set to American Concertette (for piano and orchestra)
music by Morton Gould
costumes by Santo Loquasto
lighting by Jack Mehler after Ronald Bates
BALLET NOTES

Jerome Robbins (1918-1998) remains one of the great masters of
American theater, whose influence over ballet and Broadway has been
profound and long lasting. Following the enormous success of his first
ballet, Fancy Free, Jerome Robbins chose a work by the American composer
Morton Gould for his second ballet, Interplay. Both the music and the ballet
are full of humor and jazzy influences, and are distinctly American. The
ballet was first performed in “Concert Varieties” at the Ziegfeld Theatre in
June 1945, and has since become a favorite of the contemporary American
repertory. It still appears fresh and full of youthful energy.

Although a dance without a storyline, Interplay is full of human interaction. The ballet shows the interplay between classical ballet steps and the
contemporary spirit with which they are executed, between the dancers
and the orchestra, and between the dancers themselves. The playful nature
of the movements may make the work seem deceptively simple, but the
choreography is packed with demanding technical feats and a sophisticated
use of structure. Here, Robbins experimented with choreographic patterns
and the interactions of dancers in various formations. Like a kinetic kaleido-

10

The Joffrey Ballet

The Cleveland Orchestra

scope, lines, diagonals, circles, squares, and more complex patterns continually evolve from each other. The choreography’s style matches Gould’s score,
with its jazzy orchestration and use of swingtime rhythms of the 1940s. The
ballet is divided into 4 movements: 1.) Free-Play, 2.) Horse-Play, 3.) By-Play, and
4.) Team-Play. Interplay was brought into The Joffrey Ballet’s repertoire in 1972.
American composer, pianist, and conductor Morton Gould (1913-1996)
was among a new generation of voices in classical music that came of age in
the middle of the 20th century. Although often overshadowed by Copland,
Bernstein, and Barber, like them he worked across a variety of styles and
idioms, in the concert hall and theater, and incorporated ideas from popular
music into his works. Gould created his American Concertette in 1942-43 for
the pianist José Iturbi. It was premiered in August 1943 in Philadelphia. The
composer later wrote that it was “conceived as a little concerto for piano and
orchestra” using “popular idiomatic materials in a classical framework and fabric.” Robbins heard the premiere on radio and thought it would make perfect
music for a ballet.
For this weekend’s performances, Cleveland Orchestra principal keyboard Joela Jones is featured in the solo musical role. An artist of exceptional versatility, Jones plays piano, organ, harpsichord, celesta, synthesizer, and
accordion with The Cleveland Orchestra. As soloist with the Orchestra, she
has performed over fifty different concertos in more than 200 performances
at Severance Hall and Blossom, as well as on tour in Europe and Asia. She
holds the Rudolf Serkin Principal Keyboard Endowed Chair.
Performed by permission of The Robbins Rights Trust.

Son of Chamber Symphony
choreography by Stanton Welch
music by John Adams
costume design by Travis Halsey
lighting design and scenic concept by Jack Mehler
BALLET NOTES

Australian choreographer Stanton Welch (b. 1969) assumed leadership
in 2003 of Houston Ballet, America’s fourth largest classical ballet company.
Today, he is one of the most sought-after choreographers of his generation,
having created works for such companies as Houston Ballet, San Francisco
Ballet, American Ballet Theatre, Australian Ballet, and Royal Danish Ballet.
When asked to create a new work for The Joffrey Ballet, Welch began by
looking for a variety of music to offer to Ashley Wheater. During that process,
there was one piece that really caught his imagination, Son of Chamber Symphony by John Adams. Welch thought that Adams’s deconstruction of the
music was like looking at the inner workings of a clock. The music inspired
the choreographer to move in ways both expected and unexpected.
While listening to the music, Welch already began to see the structure
of his future ballet. As a choreographer, he likes to strip away the layers
and to show the dancers, at the edge of their ability, riding the top of their
physical wave. Just as the composer took a classical musical structure and
deconstructed it, so does the choreographer take standard ballet traditions
and opens them out to discover new interpretations and greater awareness.
Throughout the ballet, there are references (more of an inspiration than direct
quotes) to many classical works, turned inside out and evolved. Welch wants
the audience to feel familiar with what they are seeing, but it is not important
for them to know exactly why.
Welch says that “so much of ballet is about hiding the difficulties and
seeking to attain seamless movement. Here I want to show the seams.” The
costuming underscores this, too. Recognizable forms are literally turned inside
out, and show the inner construction marks and understructure of the garments. The women wear recognizable, but stylized tutus, the geometric shape
of which forms an integral part of the movement and choreographic structure.
The ballet opens with one woman in the quintessential ballet costume, a
tutu, surrounded by four men. This could be the set up for the “Rose Adagio”
from Sleeping Beauty, but see how quickly this allusion is shattered and the
choreography takes off in new directions. The second movement is a pas de
deux, another essential element of most classical ballets, but there are many
additional things going on here. It is more than just a dance for two, there

12

The Joffrey Ballet

2013 Blossom Festival

is struggle and complexity. In the final movement, there are allusions to a
corps de ballet of swans, but the dynamics and thrust of the work show us so
much more. Welch has given the group of women steps that would normally
be given to principal dancers — he feels an obligation to keep moving the
classical art forward and to challenge the dancers in a way that allows them
to grow. But it is not only about athleticism. At the same time, Mr. Welch also
looks for sensuality in his choreography.
Welch says that there is no correct response that an audience member
should have to his work, but he hopes that they will be left with a feeling. Son
of Chamber Symphony is a dance work that can be enjoyed on many levels.
The dance can be enjoyed as a visual enhancement of the score (being married so well to the music), or for the pure physical achievements of the dancers, or, for those with a greater familiarity with the classical repertoire, it can be
fun to spot the short quotes or allusions to familiar works within the piece.
Composer John Adams (b. 1949) emerged in the 1990s as America’s most
performed and most influential serious composer since Aaron Copland’s heyday in the mid-20th century. Worldwide celebrations and festivals surrounding
his sixtieth birthday in 2007 gave him a secure new platform as one of music’s
established and respected voices. Too often labeled and lumped in with other
trail-blazing “minimalist” composers (such as Philip Glass and Steve Reich), Adams has evolved far beyond minimalism’s repetitive reductionism. The depth,
lyricality, imagination, and myriad conceptual vitality that he has invested in his
music has created a body of works that is both timeless and enduring.
Music performed by arrangement with Hendon Music Inc., a Boosey & Hawkes company, publisher and copyright owner.

Free PORGY AND BESS sampler
CD with purchase of season tix!
Mention "CLASSICS"

February 4-16, 2014

216-640-8800

14

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Blossom Music Festival

Adagio
choreography by Yuri Possokhov
set to music from the ballet “Spartacus” by Aram Khachaturian
lighting by Jack Mehler
BALLET NOTES

Choreographer Yuri Possokhov received his training at the Moscow
Ballet School and danced with the Bolshoi Ballet for ten years. He later joined
the Royal Danish Ballet and then San Francisco Ballet. In 2006, after retiring
as a principal dancer, he was appointed choreographer-in-residence with San
Francisco Ballet.
Possokhov choreographed this work on Joffrey dancers Victoria Jaiani
and Temur Suluashvili for the Napa Valley Festival del Sole. Since its premiere,
Possokhov has had the opportunity to revisit the work, to expand upon it, and
to refine the interpretation of the dance. Although the music is very recognizable as the famous pas de deux from Spartacus, the duet is the choreographer’s
response to the music itself and not an interpretation of the original storyline
of the work. This dance is full of fluid movement as well as technically challenging moments that will touch the soul of the audience who share this experience
with the dancers.

Composer Aram Khachaturian (1903-1978) was a Soviet Armenian composer whose works spanned a range of musical forms, including ballets, symphonies, concertos, and film scores. Along with Prokofiev and Shostakovich,
he is sometimes called one of the “three titans” of Soviet music. Like them, he
was also reprimanded for anti-Soviet “formalism” in his music, but was nevertheless more often embraced by the government censors and praised as an
example to others. He composed his score for the full-length ballet Spartacus
in 1954, for which he was awarded the Lenin Prize. It remains one of his most
performed and widely recognized works.
World Premiere: July 21, 2012, Napa Valley Festival del Sole

The Rite of Spring
[Le Sacre du Printemps]
scenario by Igor Stravinsky and Nicholas Roerich
choreography after Vaslav Nijinsky
reconstructed and staged by Millicent Hodson
music by Igor Stravinsky
performed in a reduced orchestration by Jonathan McPhee

costumes and dĂŠcors after Nicholas Roerich
reconstructed and supervised by Kenneth Archer
artistic supervision of the reconstruction by Robert Joffrey
lighting design by Jack Mehler after Thomas Skelton
scenic supervision and costumes executed by
Robert Perdziola and Sally Ann Parsons
originally commissioned for Ballets Russes by Sergei Diaghilev

The Joffrey Ballet, photography ÂŠ by Herbert Migdoll.

Part I. The Adoration of the Earth
Spring.
The Earth is covered with flowers. The Earth is covered with grass.
A great joy reigns over the Earth. (Dances of the Young Girls).
The men join in the dance and invoke the future according to the rites.
(Mock Abuction).
The Sage among all the Ancestors, or Elders, participates in the glorification of the Spring.
All are made one with the abundant and rich Earth.
Everyone tramples the Earth with ecstasy. (Dance of the Earth).
Part II. The Sacrifice
After the day, after midnight. On the hills are the consecrated stones.
The young girls carry out the mystical games and look for the Great Path.
(Mystic Circle of the Young Girls).
They glorify, they exalt the maiden who is designated to be the chosen
one of the god. (Glorification of the Chosen One).
They call the Ancestors, venerated witnesses. And the wise Ancestors
of Men contemplate the Sacrifice.
It is thus they scrifice to Yarilo, the magnificent, the flaming.
(Sacrificial Dance).

Blossom Music Festival

The Joffrey Ballet

17

BALLET NOTES

As a member of Sergei Diaghilev’s Ballets Russes, Vaslav Nijinsky (18901950), was one of the greatest dancers of the 20th century. He was also an innovative choreographer. The Rite of Spring [Le Sacre du Printemps] gave him the
opportunity to revolutionize dance, stimulated by his close collaborators Igor
Stravinsky the composer and Nicholas Roerich the scenarist and designer. All
three felt a desire to continue breaking free from prevailing classical ballet and
were intrigued to evoke the primitive soul of their native Russia, returning to the
colorful peasant costumes and the vast stony regions of the Slavic north.
In his music, Stravinsky captured the first moment of the Russian Spring,
which, as he said, was like the whole world suddenly cracking. Roerich and
Stravinsky conceived a pagan rite involving elders of a tribe watching the annual
fertility ritual, where a young girl dances herself to death. As the work was realized, it became a ballet completely apart from the norm of their day.
The body movements that Nijinsky devised were so unfamiliar to the classically trained dancers that many of them rebelled against the steps he required.
But he stood firm. Stravinsky’s polyrhythms were monumentally difficult.
Diaghilev asked a pupil of Émil Jaques-Dalcroze (founder of the music study
system Eurhythmics) to assist Nijinsky with the score for the corps de ballet. Her
name was Marie Rambert (she would later direct the Ballet Rambert in London).
Nijinsky created the role of the Chosen One in The Rite of Spring for his sister, Bronislava, who became pregnant and could not perform. She was replaced
by Maria Plitz, who danced the role to acclaim.
By the final rehearsals, most of the dancers believed in the ballet, though
everyone, including Diaghilev, was anxious about the potential audience reaction to the new work. In fact, at the premiere in Paris in 1913, pandemonium
broke out in the theater, with audience members howling, whistling, and catcalling in response to the violent fertility rite, drowning out the music and fighting
in the aisles. There was chaos at the Théâtre des Champs-Élysées and the ensuing riot has become legend.
The Rite of Spring nevertheless made a profound impression, considered by
many to be the tumultuous birth of modernism in ballet. Stravinsky’s score is a
staple in the repertoire of the world’s great orchestras. And more than two-hundred choreographers have since created their own takes on the score.
Only Joffrey’s The Rite of Spring, however, turned legend back into artifact.
It was meticulously researched and reconstructed by Millicent Hodson and Kenneth Archer and is recognized internationally as the closest possible version of
Nijinsky’s original. Premiered in 1987, the reconstruction is a testimony to the
ardent desire of Robert Joffrey and Gerald Arpino to revive rare classics — which
the company still presents with great care, allowing audiences to experience the
defining treasures of ballet.

Orchestra’s newest DVD
recording of Bruckner 4th
receiving strong reviews
The Cleveland Orchestra and Music
Director Franz Welser-Möst’s live recording of Bruckner’s Symphony No. 4, made
available on DVD in the United States at
the end of April, is receiving wide acclaim
in reviews from around the world.
The performance was filmed in 2012
at th
the beautiful 17th-century
baro
baroque Abbey of St. Florian
in A
Austria. Emmy Award-winne
ner Brian Large directed the
vid
video recording. This is the
fir
first video produced of the
re
recent
critical edition of the
1
1888
version of Bruckner’s
F
Fourth
Symphony, edited
b Benjamin Korstvedt and
by
published in 2004 as part
of the Bruckner Collected
Works edition.
Review include:
Reviews
“H
d
“How
does
one approach Anton
Bruckner and his exuberant Fourth Symphony distinctively? Franz Welser-Möst
and his fellow Clevelanders accomplished
it. And in such a way!” —Vienna Zeitung, June 2013
“A great orchestra, a Bruckner expert. . . . Five out of five stars.” —Kurier
(Austria), May 2013
“In St. Florian, Franz Welser-Möst
and The Cleveland Orchestra breathed
new life into this version. A glorious concert.” —Die Presse (Austria), May 2013
Clasart produced the recording,
which is being distributed by Arthaus and
Naxos. The Cleveland Orchestra’s longterm partnership with Clasart has resulted in five Bruckner DVDs to date. Founded in Munich in 1977, Clasart is part of
the Tele München Group. The Cleveland
Orchestra extends special thanks to Raiffeisenlandesbank Oberösterreich and
Tele München Group for their ongoing
support for electronic media projects.

The Cleveland Orchestra notes the
death on July 25 of retired Orchestra
tuba player Ronald Bishop. He served
as principal tuba
of The Cleveland
Orchestra for 38
years, 1967-2005.
Ron was born
in Rochester, New
York, and earned
a bachelor of
music degree and
performer’s certificate from the
Eastman School
of Music and a master of science degree
from the University of Illinois.
In addition to his role as principal
tuba, Ron performed as a soloist with
The Cleveland Orchestra on many occasions, and performed in recitals and gave
masterclasses throughout the world. He
inspired generations of students as a faculty member of the Cleveland Institute
of Music and the Oberlin Conservatory
of Music. He was also an avid supporter
and performer with Performers and Artists for Nuclear Disarmament.
Ron’s artistry, humanity, and sense
of humor were priceless, and will be
missed. The entire Orchestra family
extends its condolences to Ron’s wife,
Marie, and to all his family and friends.
With this weekend’s performances
of Stravinsky’s The Rite of Spring, we
especially remember Ron’s particular
love of this great work — and of his
playing in the two recordings with The
Cleveland Orchestra under the direction
of Pierre Boulez, including the Grammywinning 1969 version. A second Grammy-winning album also stands testament
to Ron’s collaborative artistry — Antiphonal Music of Gabrieli, recorded in 1969
featuring members of the brass sections
of the orchestras of Cleveland, Chicago,
and Philadelphia. Ron, we’ll miss you,
but your legacy lives on.

Orchestra News

The Cleveland Orchestra

“The trouble with music appreciation in general is that
people are taught to have too much respect for music.
They should be taught to love it instead.”
—Igor Stravinsky
Blossom Music Festival

Supporting Foundations
The Blossom Music Festival benefits from generous support from these foundations, enabling The Cleveland Orchestra to continue delivering world-class performances to the Northeast Ohio community throughout the summer months. The Orchestra gratefully acknowledges the following foundations for their support.

This production is partially funded
by Cuyahoga Arts & Culture
and the Ohio Arts Council

23

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